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| 文章编号：1672-3104(2006)04-0734-06 |
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“他者”到“自性”的流变及其悖论
———上古至六朝时期“乐”定位轨迹考辨 |
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孙旭辉 |
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（浙江大学人传媒与国际文化学院,浙江杭州, 310027） |
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| 摘 要： 从上古经春秋战国、两汉,直至魏晋六朝时期,中国音乐美学观念在“他者”与“自性”之间徘徊,历经从被神规定的音乐、被人规定的音乐,到被“自然”规定的音乐的自身定位的历史流变,完成了从作为娱神或礼制与伦理等审美意识形态工具的“他者”,向作为音乐自身的“乐之为乐”的转化。作为转变核心的“自然”的意义,则由外在自然逐步转化为主体内在性情之自然。同时,“乐”的回归悖论性地导致了其边缘化的历史命运,具体表现为有明显娱乐性质的宫廷音乐、配合文人主观情感抒发所需的文人音乐,以及仅为装饰宗教仪式的宗教音乐这三种类型。 |
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| 关键词： “乐”;他者;自性;“自然”;悖论 |
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Development from the heteronomy to the aseity with paradox
———on the track of Chinese ancient musical notion from
ancient times to Wei and Jin Dynasties |
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SUN Xuhui |
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（College of Humanities, Zhejiang University , Hangzhou 310028, China） |
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| Abstract: From ancient times, Spring and Autumn and Warring States, Wei and Jin Dynasties, Chineseancient musical notion had successfully developed from being explained by others, including deity adoration, Confusion manners, ethic systems, and polity and so on, to being explained by music its own. It included three stages: music for deity, for Confusion polity and for its own nature. This regression leads Chinese ancient music into mainstream. |
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Key words: musical notion; heteronomy; aseity; nature; paradox |
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